atiner's conference paper series lit2012-0298 mocking epic

ATINER CONFERENCE PAPER SERIES No: LIT2012-0298

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Athens Institute for Education and Research

ATINER

ATINER's Conference Paper Series

LIT2012-0298

Maria-Luiza Dumitru Oancea

Lecturer Dr.,

Department of Classical Philology

University of Bucharest

Romania

Mocking Epic and Tragic Patterns

in Apollonius of Rhodes’

Argonautica


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ISSN 2241-2891

15/11/2012


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This paper should be cited as follows:

Dumitru Oancea, M-L. (2012) “Mocking Epic and Tragic Patterns in

Apollonius of Rhodes’ Argonautica” Athens: ATINER'S Conference Paper

Series, No: LIT2012-0298.


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Mocking Epic and Tragic Patterns in

Apollonius of Rhodes’ Argonautica

Maria-Luiza Dumitru Oancea

Lecturer Dr.,

Department of Classical Philology

University of Bucharest

Romania

Abstract

We propose a new reading grill of Apollonius’ Argonautica as a poetical banter

through which the author mocks the epic and tragic models of the age. The

Prelude itself presents Jason in a somewhat embarrasing situation due to the

loss of a sandal. The image stands out from the very beginning as a „warning”

about how The Argonautica should be read. This impression is strenghtened by

countless embarassing situations featuring Jason and his followers. Towards

the end of the story, we could fully appreciate the wholehearted laughter

underneath the folds of an exciting story and realize that we are looking at a

poetical joke - a true badinage. The present study analyzes circumstances,

characters, sentiments, thoughts and gestures that support our hermeneutical

approach. We conclude that Apollonius wished to minimize epic and tragic

patterns in order to humanize the heroic model.

Contact Information of Corresponding author:


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Epic and tragic patterns

The present study investigates seven epic and tragic patterns together

with seven corresponding counter-patterns i.e. reversal of the traditional heroic

mode: heroic feats vs. illusory acts; prophets vs. false prophets; genuine love

vs. illicit intervention; heroism vs. magic; merit vs. slyness; hospitality vs.

inhospitality; sacrifice vs. simulation of sacrifice.

Illusion, instead of heroism

Greek heroes usually pursue lofty, important goals in order to prove

their virtues. However, sometimes Greek heroes pursued frivolous goals. A

constant of the heroic mode illusion is the search for the golden fleece which

is, in our opinion, a frivolous goal. We think that going in search of a little,

defenceless ram to destroy it may not be a particularly praisworthy endeavour.

The ram was not an enemy, nor was it a monster. In fact, it had human-like

attributes (it could think and speak).The golden fleece stands for powerlessness

and frivolity, its search a means of obtaining pleasure (hedone) and repose

(hesychia). Besides it offers the prospect of a mirage, a fascinating reality blur

that draws attention away from truth and opens the gates of an imaginary

world. The location of the fleece neighbours the mirific yet perplexing Orient.

The golden fleece is a frivolous erotic object used to cover the nuptial bed of

Jason and Medea, carried out in secret (IV, vv. 1141-1143): ἔνθα τότ᾽

ἐστόρεσαν λέκτρον μέγα: τοῖο δ᾽ ὕπερθεν/ χρύσεον αἰγλῆεν κῶας βάλον,

ὄφρα πέλοιτο/τιμήεις τε γάμος καὶ ἀοίδιμος 'There at that time did they (the

heroes) spread a mighty bed; and thereon they laid the glittering fleece of gold,

that so the marriage might be honoured and praised'.

Jason’s first occurence in the poem is arguably ridiculous, as the hero

shows up at the court of his uncle Pelias with only one sandal (“coming forth

from the people with but one sandal”: δημόθεν οἰοπέδιλον, I, v. 7; 'saved one

sandal from the mire, but the other he left in the depths held back by the flood':

ἄλλο μὲν ἐξεσάωσεν ὑπ᾽ ἰλύος, ἄλλο δ᾽ ἔνερθεν/κάλλιπεν αὖθι πέδιλον

ἐνισχόμενον προχοῇσιν, I, vv. 10-11.). Jason was thus limping because of this

loss, and the image itself brings to mind famous tragical characters who

suffered afflictions at one of their feet (or body parts), as Labdacos did (the one

with a limp, similar to the letter la(m)bda, or Oidipous (swollen foot), or gods

of the likes of Hephaistos, limp-legged and, by extension, of One-Eye and

One-Arm etc. But Jason was limping not because he was suffering of a

dissability. He was just lacking a shoe, a mimetic object by excellence,

imitating only the form of the foot, but failing to replace the function and role

of the organ itself. We are faced with the illusion of a missing body part, with

the mocking and minimization of tragic and epic models of the character in

suffering. On the other hand, the image of Jason’s being stuck is one of utmost

ridicule; one gets the image of a neophite, a person “stuck” who wants to

become the people’s hero.


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Phineus, the false prophet

Another element that contributes to the cristalization of the minimized

image of traditional epic models is the influencing of the Argonauts actions by

the treacherous prophet Phineus (Bouvier, Moreau 1983: 5-19). He is portrayed

from the very beginning as a villain, guilty of hybris against Zeus, whose

mysteries he had defied, revealing them to the mortals without his permission.

Thus, Phineus stands out as a unique character among those of the same rank,

if we consider that none of the consacrated epic prophets of the time (for

example Calchas, Teiresias etc.) had given in to similar subversive practices

aimed at deceiving divinity. But presenting the prophet’s past is not

accidentally inserted in the story, as it further substantiates his advice to the

Argonauts not to underestimate Cypris’ (Aphrodite’s) aid that would guarantee

their success: ἀλλά, φίλοι, φράζεσθε θεᾶς δολόεσσαν ἀρωγὴν/Κύπριδος. ἐκ

γὰρ τῆς κλυτὰ πείρατα κεῖται ἀέθλων, 'But, my friends, take thought of the

artful aid of the Cyprian goddess (II, vv. 423-425). For on her depends the

glorious issue of your venture'. Mentioning Cypris only leads to the

reintegration of Phineus within his essential characteristics as mystifying

prophet who approves of and encourages mischievous deeds, since Aphrodite

was the charming and mystifying goddess par excellence. Therefore, the epic

model of the prophet is altered, rendering him to nothing more than a mock

version of the epic, grave, god-fearing, wise and savior-like prophet. Phineus

proves to be the garrulous prophet-type, unaware of his mission, who, in the

end defies the boundaries between man and divinity through his

demythologizing and even disconcerting attitude. Despite having been severely

punished by Zeus himself, he doesn’t come around, but persists in deceiving

from a different perspective, promising the Argonauts a pseudo-glory. But

Phinues appears to be the mock replica of another blind prophet, Teiresias,

whom Odysseus meets in the Inferno and who prophesies his future fate,

offering him some clues that would warn him about his long trip coming to a

close end. Hence, we are again confronted with the mocking of a traditional

epic model: the grave look of the blind prophet of the Inferno, who becomes

the treacherous and garrulous prophet who had fallen into misery in The

Argonautica of Apollonios. He seems to be living in the world of shadows

even in his earthly existence, damned by fate and witness to the repelling

vision of the harpies.

Illicit help from above

In Chant Three, the divine accomplices Hera and Athena agree that

only a crafty act (dovlon tina, III, v. 12) can help Jason get his hands on the

golden fleece from the Aeetes. Athena (III, v. 20) acknowledges that boosting

the heroes’ courage relies on this artfulness (τοῦτον δόλον) that she had not yet

discovered. Hera is the one who, finally, indicates that Aphrodite only could

help them. The aid is awaited in surprise, as the golden fleece is the symbol of


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the Oriental mirage, a blinding illusion that could not be obtained either

legitimately (Hera) or rationally (Athena). The unexpected visit of the two

goddesses to Aphrodite allows for a digression-portrait of naughty Eros as the

mistificator by excellence or as the ludic trickster. Eros sees mistification as a

challenging game, possibly a mistification of the mistification by the principle

of the anti-phrase. Eros had just tricked the child Ganymede at the game of

jacks, and was also behing the mistifying relationship of Jason and Medea - he

shooted his venomous arrow at the virgin, making her fall in love with Jason

against her will and more importantly, against her father’s will. Eros thus also

influenced the relationship of Jason and Aeetes, as the king’s fury was ignited

by Eros’1 arrows (cf. Campbell 3; Hunter, The Argonautica of Apollonius 59;

Knight 250). Aphrodite herself, knowing that her son was fidgety and

undisciplined, tricks him into accepting to target Medea with an arrow and

make her fall in love with Jason. In exchange, Aphrodite promises Eros a

beautiful toy2 (cf. Campbell 134). Here we have an example of tricking the

trickster by means of the anti-phrase. It is important to note that the aid of

Aphrodite is indirect (she could do nothing by herself). This reminds one of

derision, of childish ludic gestures. Eros, the fidgety child by excellence,

always keen on playing tricks and even capable of evil, becomes the guarantor

of Medea’s deeds (herself a child) and of Jason’s (an untutored youth). In fact,

Chant Three is entirely devoted to the goddess Erato (a simile of Eros), whom

the poet invokes from the very beginning. she. The invocation is not of

Aphrodite as a love goddess, but as a ludic creature, defined by a subtle kind of

violence, recklessness and craftiness embodied as Eros, the god-child archer.

Immaturity thus is shared by Eros, the whimsical divine child, with both Jason

and Medea. Hera describes Medea as being 'full of wiles' δολόεσσα (III, v. 89),

using the same adjective employed by Phineus to characterize Aphrodite (II, v.

423). Further (III, v. 687), Medea addresses her sister Chalkiope 'with guileful

words' (δόλῳ), 'for the bold Loves were pressing her hard' θρασέες γὰρ

ἐπεκλονέεσκον Ἔρωτες (III, v. 687). In turn, Jason mimetically embraces

Medea’s slynesses when he accepts the potion prepared to appease the bulls

θελκτήρια φάρμακα ταύρων (III, v. 738) and when he receives the magic

potion (φάρμακον) to become invincible (III, vv. 843-848). But Jason’s sweet

talk is also a cunning weapon to trick his enemy and appease his anger (the

furious Aeetes, for example III, v. 385: ἀμείψατο μειλιχίοισιν 'he himself first

made gentle answer').

1 On Eros’ destructive power see Campbell; Hunter; Knight who maintain that the narrative

about Eros’ contribution to the love union is one of destruction, evincing that the unfolding of

Jason and Medea’s wedding would not be a happy one. 2 Kypris realizes she cannot afford to appear impolite in front of Eros. Also, Eros is described

in IV as an agent of destruction (IV, 445 sqq.).


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Magic, instead of heroism

In Chant Four, Medea employs her alluring charms to send the dragon

to sleep (ὕπνον ἔβαλλε), thereby allowing Jason easy access to the glittering

golden fleece. Jason took the golden fleece from the oak, as urged by the girl

(ἔνθα δ᾽ ὁ μὲν χρύσειον ἀπὸ δρυὸς αἴνυτο κῶας,/ κούρης κεκλομένης,

'hereupon Jason snatched the golden fleece from the oak, at the maiden

bidding' vv. IV, 162-163). Not the slightest hint of effort or fatal encounter

with the monster, no courageous deed enlivens Jason’s spirit; he is pleased to

be able to acquire the valuables without proving his virtues. In fact, Apollonios

brings forth a comparison, drawing on subtle irony, when he associates the

joyful and satisfied look on Jason’s face upon seeing the golden fleece with

that of a maiden happy to touch her glittering garments (ὡς … παρθένος... / ...

ὧς τότ᾽ Ἰήσων, 'as a maiden … so did Jason', IV, vv. 167,170). Jason is not

really a hero of the Argonauts, who had gone in the search of the golden fleece

after leaving everything in the care of a woman1 (cf. Nyberg 123; Beye, Epic and

Romance 90; Beye, 'Jason as love-hero' 43) who had run away from her father’s

house for the sake of her lover. However, Jason returns as a victor, clad with

the golden ram’s fleece hanging down his shoulders all the way to his ankles,

proud of his trophy (ἤιε δ᾽ ἄλλοτε μὲν λαιῷ ἐπιειμένος ὤμῳ/αὐχένος ἐξ

ὑπάτοιο ποδηνεκές, 'he strode on now with the fleece covering his left

shoulder from the height of his neck to his feet', IV, vv. 179-180). The image is

similar to that of the hero Herakles, victorious after the merciless grappling

with the lion of Nemeea, wearing its skin on his shoulder as trophy and

therefore appears taunting and ironic, very much in Apollonios’ style. The

emphatically displayed scene of mock-heroism is followed by that of another

Jason, fearful for his life and deprived of his precious adornment (...δίεν, ὄφρα

ἓ μή τις/ἀνδρῶν ἠὲ θεῶν νοσφίσσεται ἀντιβολήσας, 'he feared exceedingly,

lest some god or man should meet him and deprive him thereof', IV, vv. 181-

182), as if to remind us of the true mold of our hero. The contradictory images

are purposefully adjacent like the pieces of a puzzle for the reader to solve and

uncover Jason’s personality: hero or false hero?

Slyness instead of personal merit

A significant episode from the perspective of the illusory heroic mode

is that of the attack against the Argonauts by the warrior birds on Aretiás Island

(Chant Two). We think that these aggresive birds protected by Ares announces

the subsequent attack of king Aeetes, himself under the protection of Ares. The

Argonauts defeat the birds not due to their strength, but to their slyness: they

stirred up a great racket, waving their helmets, shouting strongly and raising

their spears to simulate a counter-attack. Finally, they hit their shields to raise

1 On Jason’s dependence of women’s aid and his sexual attraction towards women see Nyberg

and Beye.


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havoc among the warrior birds. The language used is clear in this regard: 'let us

contrive' (ἐπιφραζώμεθα, II, v. 1058), some other 'device' (μῆτιν, II, vv. 1050,

1058) etc. The comparison with Herakles, who had similarly eluded the

Stymphalide birds by spinning a sounding brass, is not amiss. However, the

difference between the two situations is stricking: whereas Herakles does not

consider the facts as challenging his heroic virtues i.e his physical force (a hero

does not fight birds) but only as an opportunity to apply his practical abilities to

escape an akward situation, the Argonauts consider the birds as true

combatants. As for slyness, which is the method employed here, it takes the

form of a mock-battle announcing a future episode at king Aeetes’ court, where

the Argonauts (Jason) will create the illusion of a battle with the aid of

Medea’s witchcraft.

Hospitality, instead of inhospitality

After their sojourn on the Isle of the Doliones (ἐυξείνοισι Δολίοσιν, I,

v. 1018) led by King Cyzicus, the Argonauts embark on their ship Argo and

leave behind these hospitable places. But during the night, the wind make them

unwittingly return to the island (οὐδέ τις αὐτὴν νῆσον ἐπιφραδέως

ἐνόησεν/ἔμμεναι, 'Nor did anyone note with care that it was the same island' (

I, v.1021). In the dark (ὑpὸ nuktiv, I, v.1022), neither the Argonauts nor the

Doliones recognize one another, so the hosts arm themselves and kill their

supposed ennemies, the Macrians. The pseudo-conflict breaks out in wild rage

(σὺν δ᾽ ἔλασαν μελίας τε καὶ ἀσπίδας ἀλλήλοισιν 'And with clashing of ashen

spears and shields they fell on each other' I, v. 1026). In the ensuing havoc,

Jason kills no other than King Cyzicus, king of Doliones and his benefactor

(ἀλλά μιν Λἰσονίδης τετραμμένον ἰθὺς ἑοῖο/πλῆξεν ἐπαΐξας στῆθος μέσον,

ἀμφὶ δὲ δουρὶ/ὀστέον ἐρραίσθη, I, 1032-1034) 'But Aeson's son leapt upon him

as he turned to face him, and smote him in the middle of the breast, and the

bone was shattered round the spear'. Not only does the hero fail to guarantee

strict observance of the rules of hospitality, but he fails to show heroism on the

battle-fiels. There is no sign of any desire to obtain military glory (kleos) or

becoming enshrined in the memory of the offspring. Jason’s only wish is for

him and his comrades to make it alive. This episode marks the transition from

hospitality to inhospitality: the hosts turn into attackers, while the guests

become their victims. The reason for their fight is darkness (nyx), synonymous

with the ensuing havoc. Darkness personifies the ignorance that anihilates

shape and the capacity to think wisely (ἐπιφραδέως), thus empeaching the

ritualistic game of hospitality. The ritual transforms itself into transgression.

We think of darkness as a divinity striking in anger (ate) those whom (s)he

wants to kill, by determining one to act out of ignorance. The episode casts an

unfavourable light on the Argonauts and especially on Jason: they are guilty of

lacking lucidity. This reminds us of the lack of memory or remembrance that

constitute mock-heroism – the landmark of true heroism is the will to remain in

people’s memory. Divine punishment will readily sanction this lacking in


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wisdom.. On leaving Mysia, which is the next halt, the Argonauts lose three of

their mates, Herakles, Hylas and Polyphem. At dawn, both sides become aware

of their horrific mistake.

Simulation, instead of sacrifice

Yet another example of reversed hospitality is an episode in Chant

Four, where Jason and Medea plan the cowardly murder of Medea’s blood

brother, Apsyrtus. What strikes at first is the strange association of two

divinities: Dionysus, the orgy god of the extremes, of actions performed in a

state of mental confusion, the wild god who encourages actions situated at the

threshold of two kingdoms: the human and the animal, and who is a threshold

god by excellence, and Artermis, the maiden-goddess, wild and lunar, who acts

mostly at night time, by moonlight, in the dark hideouts of the forest, and thus

indirectly, not in plain sight, a nightly goddess, patroness of witch charms

carried out in the dark. Thus, the two divine creatures share a wild nature,

nocturnal and confusing, but are drawn apart by the fact that the former acts

within an orgiastic frame, at twilight, while the latter acts within a nocturnal,

hidden frame. The two are purposefully mentioned as their role is to create a

wild, nocturnal and semi-divine frame, suitable for the plotted kill. Even the

temple of Artemis is mentioned (νηοῦ σχεδόν 'in the vicinity of the temple', IV,

v. 469), the sacred space in the vicinity of which the fratricide would take

place. Moreover, it would function as a pseudo-guarantor of a so-called

sacrifice. On the other hand, we notice a subtle ironic similarity between the

killing of Apsyrtus near Artemis’ temple and the tragic scene of preparing

Iphigenia’s sacrifice for the same wild goddess in Aulis. Thus, the crime and

the sacrifice are presented in a certain contiguity, as they appear

interchangeable. The sacrificial scenario, therefore, is thrown into ridicule,

minimized and sanctioned.

Conclusions

In Apollonius’ Argonautica values suddenly turn into non-values, as

their symbolic status is minimized, cast into ridicule and defied - a tendency

characteristic of children, certainly not of adults, for whom meanings carry

serious overtones, and personal merit is valorized and gratified accordingly.

Even Odysseus’ defining trait, polymetis ('very smart'), becomes, in

Apollonius’ The Argonautica metis (simple craftiness, stratageme,

cunningness) whose attribute is doloessa ('cunning, guilefull'). The capacity of

being smart turns into craftiness or cunningness. We believe that the whole

poem Argonautica minimizes the erotic status and personal merit, as well as

the social institutions e.g., hospitality and marriage. The pillars on which the

Argonutica rests are lies, illusion, artfulness, chiarobscuro and derision. The

epic poem always appears to be marked by the hypothetical game similar to


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those that have in one way or another influenced the childhood games of 'I am

Mom and you are Dad'. Apollonios’ intention in creating this ludic and

minimalist frame for the famous adventure could be explained by the general

tendency of Alexandrian poets to mock and condemn heavily dense epic plots,

tributary to the lenghty heroic cycles as well as the countless, long and

tiresome fantasmagorical digressions. On the other hand, we think Apollonius

did not wish to sketch a comedy based on traditional values, but to humanize

the hero and bring both the divine world and the heroic world closer to

humans’ abilities and resourcefulness.

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